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"Aphrodite" pre-order up oniTunes The standard and experience edition are both available for pre-order. $9.99 each! The experience edition has "Mighty Rivers" as a bonus Links: http://itunes.apple.com/u...d376669873 http://itunes.apple.com/u...d376669231 
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[img:$uid]http://img39.imageshack.us/img39/8241/64815270510minogue.jpg[/img:$uid]
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Im gonna try to get into the album more than i have the last few, those i kind of retired quickly, but im hopeful that this one will be more interesting, but theres always her great looks if isnt anything good. "We went where our music was appreciated, and that was everywhere but the USA, we knew we had fans, but there is only so much of the world you can play at once" Magne F | |
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the tracks i've heard are brilliant. it appears that a lot of people were not so excited with her last album, "X" for two main reasons. the album was all over the place. not cohesive at all; and although i loved each track, i have to agree. and second, the image and artwork for that project was not flattering to Kylie at all. "Body Language" , well i won't even go into why i think that wasn't a huge hit. but i will say, it had nothing to do with Kylie or the song choices. with "Aphrodite", it seems from the the 1st single, video, and snippets, Kylie's returned to true form. i think you'll like this one. and she looks delicious as usual. this album will be on non-stop/repeat for the rest of the year...at least!
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it's the spanish version
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Thanks! Feel free to join in the Prince Album Poll 2018! Let'a celebrate his legacy by counting down the most beloved Prince albums, as decided by you! | |
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I agree. X was a fine effort, but it seemed to be an album that had many reference points to previous songs in her career. I still like it a bunch, mind you.
Body Language is flawless to me. I think a lot of her fans are narrow-minded when it comes to what she should do, and throwing in a little synth funk scared them. Feel free to join in the Prince Album Poll 2018! Let'a celebrate his legacy by counting down the most beloved Prince albums, as decided by you! | |
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New Billboard.com interview/review (apres Splash gig) The rest of the world has loved her since the '80s. Now Kylie Minogue is hoping the third time's the charm for her U.S. career.
It's a hot, sweaty June Friday night in New York when Kylie Minogue arrives at the Splash club, the first step on a yearlong journey designed to re-establish her as one of the world's biggest pop-dance superstars. Initially, she'd planned to just introduce her new single, euphoric floor-filler "All the Lovers." Then, she decided to unveil a special megamix of tracks from her 11th studio album, "Aphrodite," due July 6 in the United States on Astralwerks and a day earlier in the United Kingdom on Parlophone. But ultimately, being Kylie, when she found herself onstage surrounded by a seething, cheering mass of adoring humanity, she just couldn't help herself. "I'm elevated, I have a microphone, so of course I'm going to sing along," she says with a smile, still buzzing about the impromptu performance-a far cry from her usual state-of-the-art arena shows-a few days later as she sips tea from a Kylie Minogue cup in manager Terry Blamey's West London office. "Nothing can replace playing live-not just for me, but for the audience. It's what resonates in that country." That the country involved was the United States -- as opposed to the United Kingdom, Australia, Germany or Japan -- is significant. Minogue, 42, may have long had a hardcore U.S. fan base in gay clubs like Splash but, in truth, while the rest of the world has enjoyed a decades-long love affair with the diminutive Aussie, the U.S. pop mainstream has settled for a couple of one-night stands. The first time, in 1988, she was a bubble-haired 20-year-old, all cheeky smiles and gauche dance moves, singing a production-line pop version of Gerry Goffin and Carole King's "The Loco-Motion." Elsewhere in the world, that was enough to catapult her to enduring superstardom. In the United States, not so much. By the time Minogue finally managed her second top 10 hit on the Billboard Hot 100 with "Can't Get You Out of My Head" 14 years later, she'd been transformed into a sleek, sexed-up electro-pop diva. Not that it did her much good. While she did move 1.1 million U.S. copies of parent album "Fever" (Capitol), according to Nielsen SoundScan, it ultimately merely marked the start of another eight years in the pop wilderness. But now, Minogue's back in America. And truly, if ever a record was in the right place at the right time, it's "Aphrodite." It arrives just as mainstream America discovers a love of precisely the sort of upbeat pop-dance tunes with which Minogue made her name. It will be released on the same label that broke David Guetta-another Europe-based superstar who'd never quite crossed over stateside. And it also emerges just as Minogue herself finally decides to give the world's No. 1 music market her undivided attention. That process began last October with her first U.S. tour. Without a current album to promote, she nonetheless played to 37,172 people at nine shows in six American/Canadian cities, for a reported gross of $3.1 million, according to Billboard Boxscore. "I was just getting really tired of my answers for why I'd never toured there," she says. "Something just clicked and I thought, 'If I don't do it now, I'll never do it.' " Unusually, America will get "Aphrodite" at the same time as the rest of the world-"Anything other than simultaneous and I'd have hit the roof," she says-and Astralwerks senior VP/GM Glenn Mendlinger is convinced her time has finally come. "I'm very optimistic," Mendlinger says. "She's maintained a base of 40,000-60,000 people in the U.S. that know her and buy her music on a regular basis. Now we need to pull other fans back into the mix." Globally, Minogue has high-profile TV appearances like "Friday Night With Jonathan Ross" (United Kingdom) and "Germany's Next Top Model" lined up, while she will launch the album to the world's media with a release party in Ibiza, Spain. Touring-including more U.S. dates-will follow in 2011. But Astralwerks' U.S. launch campaign will follow the Guetta model rather than an international superstar template. That means initially targeting the fan base in the clubs-"All the Lovers" is No. 31 on Billboard's Hot Dance Club Songs chart-and the gay community to build buzz, before attempting to cross over to rhythmic and pop radio later in the summer. "If you study the science of rhythmic radio, tempos are getting faster and faster," says Nick Gatfield, EMI's president of new music for North America, the United Kingdom and Ireland. "Top 40 and rhythmic radio have come 'round to her sound, which gives us the strongest opportunities for her in America since 'Fever.' " But if "Aphrodite" is beginning to sound like an album conceived in a focus group rather than a nightclub, rest assured, it isn't. Indeed, ironically enough, this was supposed to be the record that moved Minogue away from her natural dancefloor habitat to more mature territory. When initial sessions for the album began in April 2009, Minogue was paired with U.K. singer/songwriter Nerina Pallot. Among the first fruits was "Better Than Today." Excited by the live instrumentation feel and all too aware that Minogue's previous album, 2007's "X" (Capitol), had suffered from a serious case of too many chefs, Parlophone decided natural and grown-up could be the way to go. But subsequent sessions were less productive, and Pallot's songs were rapidly supplemented with tracks from a wide range of songwriters and producers, to the point where Minogue became "very confused." "I remember saying, 'Where's the dance tracks?' " she says now. "I felt like I was going down the same road, doing the rounds of all the pop dynamos but lacking any cohesive quality." Enter Minogue's "fairy godmother," Jake Shears. Shears was making the Scissor Sisters' "Night Work" (Downtown) album with Stuart Price, whose work on the Killers' "Human" had been a touchstone for the early "Aphrodite" sessions. "In the most caring, loving, GBF [gay best friend] kind of way," Minogue says with a laugh, "Jake basically pestered me to work with Stuart." Parlophone president Miles Leonard enlisted Price as executive producer in December 2009 and together they set about retooling the record. "Better Than Today" and the Pallot-penned title track remain, albeit in funked-up incarnations. Shears teamed with U.K. dance artist Calvin Harris and Minogue to write the trancey "Too Much." And Price made coherent sense of diverse offerings from collaborators including Nervo ("Put Your Hands Up [If You Feel Love]"), Keane's Tim Rice-Oxley ("Everything Is Beautiful") and Swedish House Mafia ("Cupid Boy"), ending up with not just a cluster of potential hits, but an album that Gatfield predicts will be among 2010's "top five biggest global pop records." Certainly, "All the Lovers" is off to a fast start, hitting No. 1 on the U.K. radio airplay chart after four weeks. Indeed, "Lovers" has the aura of one of "those" Minogue songs-the once-every-few-years anthems, like "Spinning Around" or "Can't Get You Out of My Head"-that come along, re-engage her original fan base and bring in the next generation. "I feel like it's spreading joy," she says, beaming. "Which is the best thing I could ever have wished for." Minogue may joke about her comparative veteran status-"I'm going to be put out to pasture soon"-but, in the same way that she was once said to have been all five of the Spice Girls at some point in her career, Minogue could be forgiven for looking at some of her current rivals for electro-pop queen bee status and thinking, "Been there, done that, got the uncomfortable-looking latex corset." Certainly, as Miley Cyrus struggles to make the transition from wholesome TV persona to grown-up dancefloor diva, she could do worse than study how Minogue graduated from her tomboy role on Australian soap opera "Neighbours" to "Better the Devil You Know" saucepot. As Christina Aguilera seeks out indie cred through collaborations with Le Tigre and Peaches, Minogue could point to her mid-'90s dalliances with Nick Cave and the Manic Street Preachers. Even Lady Gaga's co-option of cutting-edge dancefloor trends into pop statements seems to have something in common with Minogue's "Fever" period. But perhaps the main difference is, Minogue has always seemed at ease with herself. Even as she recovered from breast cancer diagnosed in 2005, she seemed to move effortlessly through the minefield of modern celebrity, never giving much away. Except when she's onstage. "Fame is a very weird thing and it can be confusing at times," she says. "The reason performing live is so addictive is that that's where [fame] makes sense. People are there to see you, you're there to show yourself, you're all there to share an experience and be in a frenzy. "Onstage, you don't have to deal with the real world-you deal with the world you've created. To have that great energy, nothing else can beat it. So you could call me an addict." And with that, there's a knock at the door to tell us our time is up. The schedule says she has to attend a management meeting, hit the studio to record with rising British pop combo Hurts and show up at a reception for Tous, the jewelry brand for which she is the public face. But in her head, she'll still be onstage at that sweaty club. Singing. Dancing. Being Kylie 
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Hot Legs!
I love you, honeyyyyyyyyyyyyyy! | |
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#1 airplay?
doesn't this make Min the first artist to get a #1 on the UK charts in the 80s 90s 00s and 10s? You CANNOT use the name of God, or religion, to justify acts of violence, to hurt, to hate, to discriminate- Madonna
authentic power is service- Pope Francis | |
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BL is good, but flawless? There is certainly some shit on that record - I Feel For You, to start. | |
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No. The official UK charts are based purely on sales and not airplay. If she tops the sales chart, then yes. | |
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Thank you. I've always felt that "Secret (Take You Home)," "Still Standing," "I Feel For You," "Sweet Music" and "Someday" were keeping Body Language from being a good album, I love what's left but that's only half the album. | |
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Those are like my favorites!
Here's my review:
The world of pop superstardom seems inevitably wrought with a series of highs and lows. In the 21st century, the disparity between commercial and critical triumphs and nadirs has grown wider than perhaps ever before. No artist better embodies this phenomenon than Kylie Minogue. After the dark ages of the late 90s, Kylie emerged energized and refreshed in the 2000s with unlimited aspirations. 2000's Light Years reaffirmed Kylie as a pop princess with staying power, thanks to smash disco hits such as "Spinning Around" and "On a Night Like This". Having hypnotized the world over with her seductive "la la la" chant in "Can't Get You Out of My Head", Kylie cemented her status as a pied piper of pop that could do no wrong throughout 2001 and 2002. Fever extended the disco theme and went on to become the most successful album of Kylie's career, building expectation and hype of her follow-up to great proportions. When Kylie finally delivered her next album in late 2003, however, the public was taken aback by its contents: sultry, urban, synthesized pop that featured a darker, moodier but more sophisticated Minogue. As such, Body Language recalls 1997's underrated Impossible Princess while retaining the pop sensibilities of Fever. Like those two albums, Body Language stands tall among her catalogue as a seminal release, in spite of its failure to live up to commercial expectations. Feel free to join in the Prince Album Poll 2018! Let'a celebrate his legacy by counting down the most beloved Prince albums, as decided by you! | |
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Yes! It's one of three albums of hers that I love all the way through, the others being Impossible Princess and Fever. Feel free to join in the Prince Album Poll 2018! Let'a celebrate his legacy by counting down the most beloved Prince albums, as decided by you! | |
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